JIMMY NAIL EXCLUSIVE INTERVIEW - PART TWO
JN - I’d like to begin by making clear that the following are my thoughts and recollections of events, some of which took place almost 40 years ago. Others will doubtless have their own recollections, their own versions. They may differ from mine. All are valid. Everyone has their own truth. I’ve written at length about my AWP experiences in my 2004 memoir and for that reason my answers here will be comparatively brief. Copyright: Jimmy Nail 2021. This article is not to be reproduced without consent.Do you have something to add?
If you have something to add, whether it be pictures, a magazine interview or something else, we would love to have it
on the Fansite! Please use the Contact link above in the navigation bar and Email us.
Auf Wiedersehen, Pet 1983 - 2021
Question 8: Series 2, Episode 3, ‘A Law for the Rich’ written by Ian La
Frenais & Dick Clement sees another stand-out hilarious scene
unfold when the lads enjoy a pint in the Barley Mow run by
legendary landlord Arthur ‘Tiger’ Pringle. A disgruntled Oz is quick
to terminate the jukebox with one sharp kick with his hobnailed
boot when ‘Aga-bloody-doo’ by Black Lace plays out to the
bewilderment of all. Script writing simply doesn’t get any better
with this scene ranking as one of your finest amongst Auf
Wiedersehen Pet fans. Can you give us a little insight into the
script and how the scene developed?
JN: It happened in a bar in Newcastle. I'd journeyed to the bar - the
Haymarket Hotel - one Sunday evening specifically to hear a track - a
John Mayall/Peter Green recording of ’So Many Roads' - they had on
their jukebox. I duly selected the track and waited… and something
else came on (I’m pretty sure it wasn’t Agadoo). I was so miffed I put
my foot through the jukebox. John, the manager, had no option but
to bar me. Fair enough.
Listen to Jimmys original jukebox choice! John Mayall/Peter Green - ’So Many Roads'.
Question 9: A number of out-takes exist perfectly capturing the
bond between cast members on-set and between takes including
many hilarious bloopers. One such scene that didn’t make the
final cut sees Dennis, Neville and Oz ordering ‘steak mit chips and
peas’ in a German restaurant. Mayhem ensues when Oz throws a
glass of water over Dennis before he reciprocates throwing his
glass of water over you. Can you shed any light on this scene
and the moments leading up to the chaos and why it didn’t
make the final cut?
JN: I’ve looked at the clip and I have no recollection of it. However, it
would appear from the audio (with either Kevin or I saying to Tim,
‘oh man oz, man!’) and Tim’s wild behaviour that Tim’s playing Oz
here. It may have been a bit of fun for an outtake.
Question 10: Series 2 was fraught with problems on set; internal politics, power struggles, strikes, press
intrusions and of course, the sad, untimely passing of Gary Holton. Against the odds, the series was as successful
as the first ending with many unanswered questions leading viewers in hope of a follow up series. Was there any
discussion or ideas amongst your fellow cast members and writers about a third series in the 80’s following the
huge success of series 2 and if so, can you provide a little insight of what might have been?
JN: Not as I recall. I believe by that point we were all ready to move on. Gary’s death was such a terrible shock and it
cast a cloud over everything, knocked the stuffing out of us all. We were a close-knit bunch.
Question 11: Following a 16-year gap between series two and
three, the show was revived in 2002 with new adventures to
Arizona (series 3), Cuba (series 4) and Thailand (The Special).
You had some influence in the shows storylines whilst scouting
for filming locations around the world with show creator Franc
Roddam. Whilst your character exhibited traits of the ‘young
Oz’, his persona changed echoing the wisdom of time and
maturity. In hindsight, is there anything you would change
about your performance as the ‘new Oz’?
JN: Franc and I mapped out the story arc then Dick and Ian took it
on from there. They felt it was important for the characters to have
evolved, some positively, others less so. By 2001 times had
changed as to what you could and couldn’t do and say on UK
terrestrial television. On a personal level there was way more
unbridled fun in playing the original unfiltered Oz but as an
actor your job is to play the part as written to the best of your
ability.
Question 12: It is widely acknowledged Ian La Frenais, Dick Clement and Stan Hey wrote some of the finest
comedy drama television of all time capturing the simple interplay and inherent humour of everyday
conversation to perfection. Did you stick rigidly to the scripts and what, if any influence did you have on your
characters dialogue and identity throughout the show?
JN: It was pretty much all there on the page. We were able to put our
own spin on it, make it our own, as any actor will. As the writers got
to know the actors (and the actors their characters) so it was
reflected in the writing. The characters were being crafted
specifically for us. Ian and I used to hang out together and some of
my turns of phrase would find their way into the scripts. I had no
problem with that. It was all just a part of the creative machine
working. Most tv is made up of talking heads. One of the great
things about the way Roger shot that first series was he worked a
lot in wide establishing shots, allowing us to roam around
utilising our entire bodies, our physicality, to help tell our
stories. Roger was the alchemist, the unsung hero, our fifth
Beatle. If it wasn’t for his vision, forget it.
Question 13: It’s fair to say your character was blessed with some of the finest, most humorous script writing
and comedy one-liners ever penned, most of which have become cemented in ‘AWP folklore’! What is your
favourite scene and exchange of dialogue and why?
JN: There was a scene set at the bar early on in which Oz shows Dennis a dodgy divers’ watch he’s recently bought.
Dennis says it looks a bit shoddy, and Oz answers, ‘It works underwater, Dennis!’ That was the scene we did for my
screen test. ’Sex is in its infancy in Gateshead’ makes me laugh. ‘Everybody gets what nobody wants?’ ‘That’s
democracy, Dennis.’ is another stand-out line.
Question 14: Writer Dick Clement was very fond of series 2,
Episode 8, ‘Marjorie Doesn’t Live Here Anymore’ where he
placed flesh on the bones of Oz providing an opportunity to
display his vulnerable side in his home town. Clement went on
to say your performance in this episode “was fantastic”.
Looking back over 38 episodes across 4 series and a two-part
special, what was your favourite episode and why?
JN: I’d have to plump for the very first episode because for me
personally nothing would ever be the same after it went out that
Friday evening. It was a revelation watching it on primetime ITV,
and there was I, in the middle of it. I could hardly believe what I
was seeing. Something that’s often overlooked is that Series 1
was just that, a series, consisting of 13 self-contained stories, a
different one playing out each week. After that they became
serialistic whereby the storyline left off at the end of one episode and picked up at the beginning of
the next. That’s a big ask over 13 hours for the writers, the actors and the viewers. My preference would have been
to continue with self-contained episodes, a clean slate each week - why change something that had worked so well?
Question 15: You were stunned to discover the enormity of
your role when thirteen sixty-odd page Auf Wiedersehen, Pet
scripts landed on your doorstep back in 1982 that would
ultimately change your life forever making Jimmy Nail a
household name. In excess of 35 hours of television-gold
later, what was the biggest challenge you faced when playing
Oz?
JN: Initially the challenge was to hold my own in the company
of such accomplished, gifted actors and to justify the faith
Roger had shown in casting me. It was not easy but to a man
(and woman) they were all great and helped me get on top of
of
it. After the success of Series 1 the challenge was more about
managing others’ expectations. So much was expected of
Question 16: Dire Straits frontman Mark Knopfler wrote ‘Why
Aye Man’, the unforgettable closing sound track to series 3
complete with backing vocals from you and Tim Healy. Whilst
the track from his third solo studio album ‘The Ragpicker’s
Dream’ embodies Thatcher’s political and social backdrop of
the 80’s echoing series 1, it was the chorus - reminiscent of
Native American Indian chants - that was lifted to play out
the closing credits of the Arizona series. On a personal
level, you admire Mark Knopfler’s work. Can you give us a
little background as to how Mark became involved with
the series 3 soundtrack?
JN: I asked Mark and Sting if they’d consider doing something.
Sting recorded a really cool vocal hook for the opening titles and
Mark offered up ‘Why Aye, Man’ for the closing credits. You don’t
normally have that kind of fire-power book-ending a UK
television series. I was over the moon until the BBC execs chose
not to go with the Sting segment. Go figure.
Series 2 and we all felt it.
Listen out for backing vocals by Jimmy and Tim Healy.
The Official Auf Wiedersehen Pet fansite would sincerely like to thank Jimmy for taking time out of his busy
schedule to speak with us and share his memories.
Copyright: Jimmy Nail 2021. This article is not to be reproduced without consent.
Sign up to our newsletter here and be the first to read the third and final part of our exclusive interview when we
saved the best until last. Find out some of Jimmy’s fondest memories both on and off screen; we discuss fans
fascination with AWP filming locations and discover his favourite and why; we ask for one piece of little known AWP
trivia fans couldn’t possibly know and; during these incredibly difficult and challenging times, we ask what advice he
would give those wishing to follow in his footsteps in performing arts.
Plus, we ask the ultimate question on the mind of every die-hard fan: would he ever consider reviving his character
as ‘Leonard Jeffrey ‘Oz’ Osborne’ one last time if the script and time were perfect!
To be the first to find out what he had to say and sign up to our newsletter now!
Missed part 1 of our Jimmy Nail Q&A? Read it here.
JIMMY NAIL EXCLUSIVE INTERVIEW - PART TWO
Auf Wiedersehen, Pet 1983 -2021
JN - I’d like to begin by making clear that the following are my
thoughts and recollections of events, some of which took place
almost 40 years ago. Others will doubtless have their own
recollections, their own versions. They may differ from mine.
All are valid. Everyone has their own truth. I’ve written at
length about my AWP experiences in my 2004 memoir and for
that reason my answers here will be comparatively brief.
Copyright: Jimmy Nail 2021. This article is not to be
reproduced without consent.
Question 8: Series 2, Episode 3, ‘A Law for the Rich’
written by Ian La Frenais & Dick Clement sees another
stand-out hilarious scene unfold when the lads enjoy a
pint in the Barley Mow run by legendary landlord
Arthur ‘Tiger’ Pringle. A disgruntled Oz is quick to
terminate the jukebox with one sharp kick with his
hobnailed boot when ‘Aga-bloody-doo’ by Black Lace
plays out to the bewilderment of all. Script writing
simply doesn’t get any better with this scene ranking as
one of your finest amongst Auf Wiedersehen Pet fans.
Can you give us a little insight into the script and how
the scene developed?
JN: It happened in a bar in Newcastle. I'd journeyed to the
bar - the Haymarket Hotel - one Sunday evening
specifically to hear a track - a John Mayall/Peter Green
recording of ’So Many Roads' - they had on their jukebox. I
duly selected the track and waited… and something else
came on (I’m pretty sure it wasn’t Agadoo). I was so miffed
I put my foot through the jukebox. John, the manager, had
no option but to bar me. Fair enough.
Question 9: A number of out-takes exist perfectly
capturing the bond between cast members on-set and
between takes including many hilarious bloopers. One
such scene that didn’t make the final cut sees Dennis,
Neville and Oz ordering ‘steak mit chips and peas’ in a
German restaurant. Mayhem ensues when Oz throws a
glass of water over Dennis before he reciprocates
throwing his glass of water over you. Can you shed any
light on this scene and the moments leading up to the
chaos and why it didn’t make the final cut?
JN: I’ve looked at the clip and I have no recollection of it.
However, it would appear from the audio (with either Kevin
or I saying to Tim, ‘oh man Oz, man!’) and Tim’s wild
behaviour that Tim’s playing Oz here. It may have been a
bit of fun for an outtake.
Question 10: Series 2 was fraught with problems on
set; internal politics, power struggles, strikes, press
intrusions and of course, the sad, untimely passing of
Gary Holton. Against the odds, the series was as
successful as the first ending with many unanswered
questions leading viewers in hope of a follow up series.
Was there any discussion or ideas amongst your fellow
cast members and writers about a third series in the
80’s following the huge success of series 2 and if so, can
you provide a little insight of what might have been?
JN: Not as I recall. I believe by that point we were all ready
to move on. Gary’s death was such a terrible shock and it
cast a cloud over everything, knocked the stuffing out of us
all. We were a close-knit bunch.
Question 11: Following a 16-year gap between series
two and three, the show was revived in 2002 with new
adventures to Arizona (series 3), Cuba (series 4) and
Thailand (The Special). You had some influence in the
shows storylines whilst scouting for filming locations
around the world with show creator Franc Roddam.
Whilst your character exhibited traits of the ‘young Oz’,
his persona changed echoing the wisdom of time and
maturity. In hindsight, is there anything you would
change about your performance as the ‘new Oz’?
JN: Franc and I mapped out the story arc then Dick and
Ian took it on from there. They felt it was important for the
characters to have evolved, some positively, others less so.
By 2001 times had changed as to what you could and
couldn’t do and say on UK terrestrial television. On a
personal level there was way more unbridled fun in
playing the original unfiltered Oz but as an actor your job
is to play the part as written to the best of your ability.
Question 12: It is widely acknowledged Ian La Frenais,
Dick Clement and Stan Hey wrote some of the finest
comedy drama television of all time capturing the
simple interplay and inherent humour of everyday
conversation to perfection. Did you stick rigidly to the
scripts and what, if any influence did you have on your
characters dialogue and identity throughout the show?
JN: It was pretty much all there on the page. We were able
to put our own spin on it, make it our own, as any actor
will. As the writers got to know the actors (and the actors
their characters) so it was reflected in the writing. The
characters were being crafted specifically for us. Ian and I
used to hang out together and some of my turns of phrase
would find their way into the scripts. I had no problem with
that. It was all just a part of the creative machine working.
Most tv is made up of talking heads. One of the great things
about the way Roger shot that first series was he worked a
lot in wide establishing shots, allowing us to roam around
utilising our entire bodies, our physicality, to help tell our
stories. Roger was the alchemist, the unsung hero, our fifth
Beatle. If it wasn’t for his vision, forget it.
Question 13: It’s fair to say your character was blessed
with some of the finest, most humorous script writing
and comedy one-liners ever penned, most of which
have become cemented in ‘AWP folklore’! What is your
favourite scene and exchange of dialogue and why?
JN: There was a scene set at the bar early on in which Oz
shows Dennis a dodgy divers’ watch he’s recently bought.
Dennis says it looks a bit shoddy, and Oz answers, ‘It works
underwater, Dennis!’ That was the scene we did for my
screen test. ’Sex is in its infancy in Gateshead’ makes me
laugh. ‘Everybody gets what nobody wants?’ ‘That’s
democracy, Dennis.’ is another stand-out line.
